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GMosko

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About GMosko

  • Rank
    Advanced Member
  • Birthday 02/28/1950

Contact Methods

  • Website URL
    http://public.fotki.com/gilbert2/ceramics

Profile Information

  • Location
    Pueblo, CO
  • Interests
    glider pilot, electric bass player, sumi-e painter
  1. A gallery owner in Santa Fe once advised me to do this: sign my name--fast--legibility did not count. Then stamp a clear image of my name. Finally, stamp my chop. The chop is the traditional Japanese ancient "stick figures" characters with a border. This functions almost as a "certificate of authenticity."
  2. Sorry, my first try did not post the images. Trying again. Gil
  3. Sorry, I can't type. My CORRECT email is: gmosko@ghvalley.net . Thanks.
  4. I have used a lot of castable silicone in my day. It is a two-part system, mixed 1 : 1. The raw ingredients are thick, like cold honey. Once they are weighed out, you mix well. This catches a lot of air bubbles, but if you are not fortunate enough to have a vacuum chamber, simply wait for a minute or two (for the larger bubbles to rise and pop), and then pour from high enough to create a very thin stream, which tends to pop the remaining bubbles. To prepare a snakeskin, I would first glue it down (probably using 3M 77 glue spray) until you are confident it can't float up. Then cover the edges
  5. A gallery owner in Santa Fe once taught me about this topic. I do exactly what he recommended, and it has served me well. First, I sign, in a scribbly style that almost nobody can read. Then with a tiny stamp, I stamp my name (in plain gothic letters) directly under the signature. Finally, I impress my chop, usually opposite the signature. So signature, name stamp, chop. These three ID items look great, they enhance the value of the piece, and tell the buyer that I am proud of the work and think enough of it to spend fifteen seconds underneath the foot!
  6. For sheer money savings, the obvious answer is to not get a pug mill. BUT......some of us are getting older. The wear and tear on the back and wrists from wedging can eventually take its toll. So I bought a Peter Pugger (it is built like a tank!), and now I don't even wedge anymore! The clay is de-aired before it gets extruded. So I simply cut off a piece to the length (weight) I want, and then wedge it on the wheel. Just a few up and down movements of the clay will get the particles all lined up, and this is fantastically easier on my body than interminable wedging on a plaster table. I have
  7. Excuse me--I only just saw your comment today. Thank you! It is very kind of you to say these nice things. Gil
  8. I know you are concerned about cost. Excuse me, but the absolute most important thing to me is longevity and ease of operation. A wheel that lasts for twenty years will cost less than a cheaper wheel that goes bad after three years. Therefore, the only choice I can possibly make is the Thomas Stuart wheel from Shimpo. I have owned a Soldner kick, a Lockerbie motor-assisted kick, and a Brent 3/4 horse electric. While I loved all of them, the Thomas Stuart has shown me a problem-free life for twelve years--so far. I expect it to last until I am in the ground.
  9. I am so sorry that I messwed up my postings. I'll try to be more careful in the future. Cheers.
  10. I think it is great that you received such fast and honest service from the supplier. I also agree that bisquing higher tends to burn out the volatiles. But ^02??? Wow, good luck trying to glaze any pieces that were bisqued that high. I have trouble even at 03, and must stay at 04 as the highest bisque temp, if I want to have any kind of ease during glazing. Cone 02 for me would be so hard (partially vitrified) that it would not be able to absorb the water from the glaze, making life difficult. I recently had a really rotten batch of low-fire white clay. It didn't bloat, but it caused all
  11. GMosko

    Gil's Pottery

    Some examples of my work
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